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Izvornik
Cantata misericordium, Op. 69. Benjamin Britten. Voice sheet music. Choir sheet music.
Prijevod
Kantata Misericordium, op. 69. Benjamin Britten. Glas note. Zbor note.
Izvornik
Cantata misericordium, Op. 69. 1963. Vocal Score. Composed by Benjamin Britten. 1913-1976. For Choral, Chorus, Orchestra. Vocal Score. BH Large Choral. 45 pages. Boosey & Hawkes #M060014055. Published by Boosey & Hawkes. HL.48008889. for tenor and baritone solos, small chorus and string quartet, string orchestra, piano, harp and timpani. Text. In Latin by Patrick Wilkinson. Publisher. Boosey & Hawkes. Difficulty level. chorus parts. This work is a different as chalk from cheese from the Cantata academica. Here is a searingly beautiful work which presses all Britten's sympathetic buttons. It was composed for the centenary of the Red Cross and first performed in Geneva on 1 September 1963 conducted by Ernest Ansermet. Britten worked with his librettist, Patrick Wilkinson, to create a dramatic scena around the parable of the Good Samaritan. How appropriate this was for the organisation whose work it was intended to celebrate. Wilkinson set it in Latin, giving the Cantata a timeless sense of the universality of the message the parable conveys. Britten's scoring further emphasises the intimacy of the work which has echoes of Saint Nicolas and the Ceremony of Carols in its use of the harp and piano. The separate string quartet, however, is the truly personal touch giving that powerful sense of looking in on a private conversation. The quartet begins the work with a contrapuntal figure which returns at key moments as a refrain or as a joining passage marking the arrival of a new potential source of help to the wounded man, and again at the end. This is a work which barely raises its voice. The emphasis is on compassion and not on the violence done to the traveller who was so badly injured and so callously ignored by the priest and the Levite who passed by. This Cantata immediately followed the composition of the War Requiem, and Owen's pity and waste of war is at the heart of this new work which could have painted a very different picture of righteous indignation or the fighting which would leave the traveller broken by the wayside. The end of the work also has strong resonance with the War Requiem when the Samaritan has taken the traveller to recover in a local inn and says. 'sleep now, my friend, sleep. forget your injuries. ' Britten has achieved a remarkable effect in this work. It leaves an indelible impression on its listeners and, like all stories designed to demonstrate a moral, sends one away intent on being a better person. The choral parts of the Cantata misericordium are quite challenging, though not in the league of Sacred and Profane or A Boy was Born. What is essential in performing this work, however, is that the choral parts should be so well sung that the gentle nature of the whole work is not disturbed by obviously problematic passages for choir. The whole concentration should be on the message, as Britten intended. It is the moral of the tale and not its means of communication which is paramount. Duration. 20 minutes. Paul Spicer, Lichfield, 2011.
Prijevod
Kantata Misericordium, op. 69. 1963. Vokalni rezultat. Sastoji od Benjamina Brittena. 1913-1976. Za zborske, zbor, orkestar. Vokalni rezultat. BH Veliki pjevački. 45 stranice. Буси. Objavio Boosey. HL.48008889. za tenor i bariton solo, mali zbor i gudački kvartet, gudački orkestar, klavir, harfu i timpana. Tekst. U latinskom Patrick Wilkinson. Izdavač. Boosey. Stupanj težine. korske dijelove. Ovo djelo je drugačiji kao krede od sira iz Cantata Academica. Ovdje je searingly lijepo djelo koje pritišće suosjećajne tipke sve Brittenovoj. To je bio sastavljen za obljetnice Crvenog križa, a praizvedena je u Ženevi 1. rujna 1963 provodi Ernest Ansermet. Britten je radio sa svojim libretista, Patrick Wilkinson, stvoriti dramatične scene oko prispodobi dobrog Samaritanca. Kako je to bilo prikladno za organizaciju čiji rad je bio namijenjen za slavlje. Wilkinson ga postaviti na latinskom, dajući kantata bezvremenski osjećaj univerzalnosti poruke prispodobe otuđi. Britten bodovanja dodatno naglašava intimnost radu koji ima odjeka Svetog Nikole i Svečanost pjesama u korištenju harfu i glasovir. Odvojeno gudački kvartet, međutim, doista osobni dodir daje taj snažan osjećaj gleda u na privatnom razgovoru. Četvorka počinje rad s kontrapunktskih lik koji se vraća u ključnim trenucima kao refren ili kao spojno prolaz u povodu dolaska novog potencijalnog izvora pomoć na ranjenog čovjeka, i opet na kraju. To je posao koji se jedva diže svoj glas. Naglasak je na suosjećanje, a ne na nasilje nad putnik koji je tako jako ozlijedio i tako bezdušno zanemarena od strane svećenika i levita koji donosi. Ovaj Cantata odmah slijedi sastav rata Requiema, a Owen je šteta i gubitak rata je u srcu ovog novog posla koji bi mogao slikano sasvim drukčiju sliku pravedan gnjev ili na borbe koje će ostaviti putnik slomljen od puta. Kraj radu također ima jaku rezonanciju s ratom Requiema kada Samaritanac je preuzeo putnik za oporavak u lokalnoj gostionici i kaže. 'Spavati sada, prijatelju moj, sleep. zaboraviti svoje ozljede. 'Britten je postigao izvanredan učinak u ovom poslu. To ostavlja neizbrisiv dojam na svojim slušateljima i, kao i sve priče dizajniran da pokaže moralna, šalje jednu daleko namjeri bolja osoba. U pjevačkih dijelovi kantata Misericordium su prilično zahtjevna, ali ne u ligi sveto i profano ili dječak rođen. Ono što je bitno u obavljanju ovog posla, međutim, da su zborski dijelovi trebaju biti tako dobro pjeva da je nježna priroda cijelog posla nije poremećena očito problematičnih prolaza za zbor. Cijeli koncentracija mora biti na poruci, kao Britten namijenjeno. To je pouka ove priče, a ne njegovi sredstvo komunikacije koja je na prvome mjestu. Trajanje. 20 minuta. Paul Spicer, Lichfield 2011.
